Erykah Badu Basks in Her New Era of Reinvention and Expansion 

Erykah Badu arrives at the Valentino ready-to-wear Spring/Summer 2023 fashion collection presented in Paris on Oct. 2, 2022. (AP)
Erykah Badu arrives at the Valentino ready-to-wear Spring/Summer 2023 fashion collection presented in Paris on Oct. 2, 2022. (AP)
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Erykah Badu Basks in Her New Era of Reinvention and Expansion 

Erykah Badu arrives at the Valentino ready-to-wear Spring/Summer 2023 fashion collection presented in Paris on Oct. 2, 2022. (AP)
Erykah Badu arrives at the Valentino ready-to-wear Spring/Summer 2023 fashion collection presented in Paris on Oct. 2, 2022. (AP)

Erykah Badu has unintentionally occupied the role of culture shifter and influencer for 20 plus years, well before it became a trendy, social media descriptor. Her impact has vibrated throughout music and fashion, and the “Green Eyes” songstress sees it clearly.

“I can hear my influence in music. I can see my influence style,” explained the four-time Grammy winner. “I hear my words resonated all over the world...So yeah, I can see it.”

That cultural cache may be why her collaboration with Italian fashion house Marni has been so anticipated. The Marni x Erykah Badu capsule was released in select US Marni boutiques last month. The 42-piece collection features women's ready-to-wear garments, including dresses, accessories and footwear, accented with handmade leather patchwork, heavy wools, bold sequins and lush velvets. Badu, 52, who is known for her creative and eccentric style, was hands on in all aspects.

“I’ve worked the same way in every area of my life; on stage I’m doing sound, I’m doing lighting, set design, costume, hair, makeup,” said Badu, whose 18-year-old daughter Puma modeled for the campaign. “I’m involved in everything. I am a creator. I am a visionary...we put those things together and came up with something really creative.”

Claire Sulmers, CEO of the influential style blog Fashion Bomb Daily, says Badu's versatility has made her a muse for designers.

“She is a trendsetter, but she’s always marched to the beat of her own drum...she can work anything, from a designer you might find at a flea market, to a runway,” said Sulmers, who called Badu an icon. “I think that is what can be attributed to her collaborating with brands because a lot of these brands that might have been under the radar or off the radar, now they’re like, ‘Whoa, there’s this beautiful woman who is an amazing artist, who also has an amazing style, and we want to work with her.’”

As Badu enters the fashion industry and launches other business ventures, the singer-songwriter is keeping her feet firmly planted in music with a tour on the horizon. In a wide-ranging video interview with The Associated Press, Badu discussed her businesses and creativity.

The line between entertainer and philosopher is often blurred when conversing with the “Next Lifetime” artist. When asked what makes her happy, she mentions her diet; when questioned about the creation of her classic records, she brings up the latest theories on the formation of the pyramids.

Her aura has a warm, but intense gravitational pull, and there’s a long-running joke that one can’t look into her eyes without falling into a trance — a myth Badu embraces. She has embarked through life with a creative fearlessness.

“If I’m a little nervous or afraid, I feel brave because of the confidence,” said Badu, who has served as both a birthing and end-of-life doula for the past two decades. “That has always driven my creativity and art. So, it’s easy to be a non-conformist, especially when you feel confident that there’s no such thing as losing because even those moments are lessons. I take all the information and use them to reinvent myself each day.”

Badu has helped bring babies into the world for friends, family and even celebrity mothers like singers Summer Walker and Teyana Taylor, stating the relationships happen organically, and she only agrees if she can dedicate the time. There’s no website or phone number to request the “Love of My Life” singer's doula services, at least not yet.

“(If) the money gets tight, then we’ll see,” she joked.

A champion for Black women and free thinking, she’s not only in an era of reinvention, but expansion.

Draped in Afrocentric garb including statuesque headwraps and ankh jewelry, Badu teleported into the music scene in 1997 with her debut album, “Baduizm.” It earned her a best new artist Grammy nomination and a best R&B album win.

A pioneer of the '90s neo-soul movement with contemporaries like Maxwell, D’Angelo and Jill Scott, Badu crafted soulful classics like “On & On,”“Tyrone,”“Bag Lady,”“Didn’t Cha Know” and “Window Seat.” Her last official project was 2015’s “But You Caint Use My Phone” mixtape.

“I’m always working on new music. I don’t know when I’ll put it out, but I’m waiting for the right time,” said the 2018 Soul Train Legend honoree. “I like to feel necessary for my real audience. My real audience is trees and wind and rain, air — ancestors and things like that.”

Badu says music is the star that her other businesses orbit around.

“Everything is vibration and sound, from the sound of the birds that I’ve heard since I was a child... (to) the clothes I wear — the clothes in my Marni line all have bells on them,” explained the Dallas native, who still resides in the city. “So, if I associate everything with music, it’s very easy for me to create...there’s a variety of things I listen to throughout the day, from wind chimes in the morning to Brent Faiyaz in the afternoon to Bach — I mean, there’s just so many different things. I just love music and frequency. It is my therapy.”

One of her most impactful musical contributions didn’t come from a hit, but from the lesser-known “Master Teacher Medley” on 2008’s “New Amerykah Part One (4th World War)” album. Produced by Shafiq Husayn, that song is largely credited with reintroducing the term “stay woke” — with collaborator Georgia Anne Muldrow chanting those words — to a new generation.

“From the time they started using it for Black Lives Matter (social protests), it was out of my hands because it kind of doesn’t really belong to us anymore,” said Badu, who describes the phrase as a person’s heighted awareness of everything going on around them.

However, when conservatives made the term a political lightening rod, Badu decided to speak out.

“It got a little out of hand. That’s why I had to say something about it, because people were starting to use it as a weapon,” she continued. “If it gets into the wrong hands...I’ve gotta interfere and bring it back in.”

Badu, who has an upcoming Funko Pop! figure that sold out during pre-order, is prepping for a highly anticipated 25-date tour kicking off this month. Yasiin Bey, the hip-hop star formerly known as Mos Def, will join her for the “Unfollow Me” tour.

“I just want people to follow their own heart,” said the active social media user, giggling at the cheekiness of the title. “It’s about your journey.”

As Badu, who will appear in the upcoming film “The Piano Lesson” starring Samuel L. Jackson and John David Washington, continues her own odyssey, her outlook is one of gratefulness and optimism.

“When I open my eyes in the morning, I say, ’Still here! Got another chance today do some good (expletive), create some great (expletive) — be challenged by people and make the right choices. Another chance to discriminate between things that are useful in my brain...(and) thoughts that are not,” she revealed. “That’s woke. That’s awareness — knowing that there is adversity, but also using the tools that you have to navigate through your world.”



Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”


Nicki Minaj Surprises Conservatives with Praise for Trump, Vance at Arizona Event

CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
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Nicki Minaj Surprises Conservatives with Praise for Trump, Vance at Arizona Event

CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)

Rapper Nicki Minaj on Sunday made a surprise appearance at a gathering of conservatives in Arizona that was memorializing late activist Charlie Kirk, and used her time on stage to praise President Donald Trump and Vice President JD Vance, calling them “role models” for young men.

The rap star was interviewed at Turning Point USA’s AmericaFest convention by Erika Kirk, the widow of Charlie Kirk, about her newly found support for Trump — someone she had condemned in the past — and about her actions denouncing violence against Christians in Nigeria.

The Grammy-nominated rapper's recent alignment with the Make America Great Again movement has caught some interest because of her past criticism of Trump even when the artist's own political ideology had been difficult to pin down. But her appearance Sunday at the flagship event for the powerful conservative youth organization may shore up her status as a MAGA acolyte.

Minaj mocked California Gov. Gavin Newsom, referring to him as New-scum, a nickname Trump gave him. Newsom, a Democrat, has 2028 prospects. Minaj expressed admiration for the Republican president and Vance, who received an endorsement from Erika Kirk despite the fact he has not said whether he will run for president. Kirk took over as leader of Turning Point.

“This administration is full of people with heart and soul, and they make me proud of them. Our vice president, he makes me ... well, I love both of them,” The Associated Press quoted Minaj as saying. “Both of them have a very uncanny ability to be someone that you relate to.”

Minaj’s appearance included an awkward moment when, in an attempt to praise Vance’s political skills, she described him as an “assassin.”

She paused, seemingly regretting her word choice, and after Kirk appeared to wipe a tear from one of her eyes, the artist put her hand over her mouth while the crowd murmured.

“If the internet wants to clip it, who cares? I love this woman,” said Erika Kirk, who became a widow when Charlie Kirk was assassinated in September.

Last month, the rapper shared a message posted by Trump on his Truth Social network about potential actions to sanction Nigeria saying the government is failing to rein in the persecution of Christians in the West African country. Experts and residents say the violence that has long plagued Nigeria isn’t so simply explained.

“Reading this made me feel a deep sense of gratitude. We live in a country where we can freely worship God,” Minaj shared on X. She was then invited to speak at a panel at the US mission to the United Nations along with US Ambassador Mike Waltz and faith leaders.

Minaj said she was tired of being “pushed around,” and she said that speaking your mind with different ideas is controversial because “people are no longer using their minds.” Kirk thanked Minaj for being “courageous,” despite the backlash she is receiving from the entertainment industry for expressing support for Trump.

“I didn’t notice,” Minaj said. “We don’t even think about them.” Kirk then said “we don’t have time to. We’re too busy building, right?”

“We’re the cool kids,” Minaj said.

The Trinidadian-born rapper is best known for her hits “Super Freaky Girl,” “Anaconda” and “Starships.” She has been nominated for 12 Grammy Awards over the course of her career.

In 2018, Minaj was one of several celebrities condemning Trump’s zero-tolerance immigration policy that split more than 5,000 children from their families at the Mexico border. Back then, she shared her own story of arriving to the country at 5 years old, describing herself as an “illegal immigrant.”

“This is so scary to me. Please stop this. Can you try to imagine the terror & panic these kids feel right now?” she posted then on Instagram.

On Sunday on stage with Erika Kirk, Minaj said, “it’s OK to change your mind.”


'Avatar: Fire and Ash' Launches With $88Mn Domestically, $345Mn Worldwide

 This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
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'Avatar: Fire and Ash' Launches With $88Mn Domestically, $345Mn Worldwide

 This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)

“Avatar: Fire and Ash” opened with $345 million in worldwide sales, according to studio estimates Sunday, notching the second-best global debut of the year and potentially putting James Cameron on course to set yet more blockbuster records.

Sixteen years into the “Avatar” saga, Pandora is still abundant in box-office riches. “Fire and Ash,” the third film in Cameron’s science-fiction franchise, launched with $88 million domestically and $257 million internationally. The only film to open bigger in 2025 was “Zootopia 2” ($497.2 million over three days). In the coming weeks, “Fire and Ash” will have the significant benefit of the highly lucrative holiday moviegoing corridor.

But there was a tad less fanfare to this “Avatar” film, coming three years after “Avatar: The Way of Water.” That film launched in 2022 with a massive $435 million globally and $134 million in North America. Domestically, “Fire and Ash” fell a hefty 35% from the previous installment. Reviews for “Fire and Ash” were also more mixed, scoring a series-low 68% “fresh” score on Rotten Tomatoes.

Yet those quibbles are only a product of the lofty standards of “Avatar.” The first two films rank as two of the three biggest box-office films of all time. To reach those heights, the “Avatar” films have depended on legs more than huge openings.

“Avatar” (2009), opened with $77 million domestically but held the top spot for seven weeks. It ultimately grossed $2.92 billion worldwide. “The Way of Water” also held strong to eventually tally $2.3 billion globally.

“The openings are not what the ‘Avatar’ movies are about,” said David A. Gross, a film consultant who publishes a newsletter on box office numbers. “It’s what they do after they open that made them the #2 and #3 biggest films of all time.”

Should “Fire and Ash” follow in those footsteps, “Avatar” would become the only movie franchise with three $2 billion installments. Working in its favor so far: strong word-of-mouth. Audiences gave it an “A” CinemaScore.

In interviews, Cameron has repeatedly said “Fire and Ash” needs to perform well for there to be subsequent “Avatar” films. (Four and five are already written but not greenlit.) These are exceptionally expensive movies to make. With a production budget of at least $400 million, “Fire and Ash” is one of the costliest films ever made.

“Fire and Ash” was especially boosted by premium format showings, which accounted for 66% of its opening weekend. A narrow majority of moviegoers (56%) chose to watch it in 3D.

The “Avatar” films have always been especially popular overseas. “Fire and Ash” was strongest in China, where its $57.6 million opening weekend surpassed the two previous movies.

“Fire and Ash” didn’t have the weekend entirely to itself. A trio of other new wide releases made it into theaters in hopes of offering some counterprogramming: Lionsgate’s “The Housemaid,” Angel Studios’ “David” and Paramount Pictures’ “The SpongeBob Movie: Search for SquarePants.”

In the race for second place, “David” came out on top. The animated tale of David and Goliath collected $22 million from 3,118 theaters, notching the best opening weekend for Angel Studios.

“The Housemaid,” Paul Feig’s twisty psychological thriller starring Sydney Sweeney and Amanda Seyfried, opened with $19 million 3,015 theaters. The Lionsgate release, which cost about $35 million to make, is set up well to be one of the top R-rated options in theaters over the holidays. Based on Freida McFadden’s bestselling novel, it stars Sweeney as a woman with a troubled past who becomes a live-in maid for a wealthy family.

Trailing the pack was “The SpongeBob Movie: Search for SquarePants,” which collected $16 million from 3,557 theaters. The G-rated film, based on the Nickelodeon TV series, is the first “SpongeBob” theatrical movie since 2015’s “The SpongeBob Movie: Sponge Out of Water.”

All of this weekend’s new films will hope the ticket sales keep rolling in over the upcoming Christmas break. Starting Dec. 25, they’ll need to contend with some new wide releases, including A24’s “Marty Supreme,” with Timothée Chalamet; Focus Features’ “Song Sung Blue,” with Hugh Jackman and Kate Hudson; and Sony’s “Anaconda,” with Jack Black and Paul Rudd.

Before expanding on Christmas, “Marty Supreme” opened in six theaters over the weekend, grossing $875,000 or $145,000 per theater. That was good enough for not only the best per-theater average of the year, but the best since 2016 and a new high mark for A24. The film, directed by Josh Safdie and starring Chalamet as an aspiring table tennis player in 1950s New York, is the most expensive ever for A24.